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L'entrée de l'Empereur Sigismond a Mantouë: gravé en vingt cinq feuilles, d'après une longue frise exécutée en stuc dans le palais du T. de la même ville, sur un dessin de Jules Romain
Antoinette Bouzonette Stella was born into a family of goldsmiths and engravers. She and her sister Claudine trained with their uncle Jacques Stella, a painter and engraver, who had an atelier in the Palais de Louvre. This series of her engravings is after sculpture in the Palazzo del Te in Mantua by Gulio Romano and Primaticcio depicting the Emperor Sigismund's entry into Mantua in 1432. They were first published in 1675. These are impressions from the original plates, published sometime after 1787. -
Erucarum ortus, alimentum et paradoxa metamorphosis: in qua origo, pabulum, transformatio, nec non tempus, locus & proprietates erucarum, vermium, papilionum, phalaenarum, muscarum, aliorumque hujusmodi exsanguium animalculorum exhibentur: in favorem, atque insectorum, herbarum, florum, & plantarum amatorum, tùm etiam pictorum, limbolariorum, aliorumque commodum exactè inquisita, ad vivum delineata, typis excusa, compendiosèque descripta
Keenly observant entomologist and artist Maria Sibylla Merian was the first to study and depict the metamorphosis of insects in the field. She taught girls botanical drawing and sold her specimens, prints, and books to earn a living. Her first work, Der raupen wunderbare verwandlung, was published in Nuremberg between 1679 and 1683. Erucarum ortus is a reworking of Der raupen, translated into Latin by her daughter Dorothea. This copy includes many counterproofs, printed from a wet impression, to create a print in reverse. The collection also includes Merian’s De europische insecten (Amsterdam, 1730). -
Neues Modelbuch
Rosina Helena Fürst grew up in Nuremberg in a family of engravers and printers, as was often the case for women who became artists. Her sister Magdalena, also an artist, had been a student of Maria Sibylla Merian. Rosina Fürst drew and engraved the complex illustrations of lace and embroidery for this two-volume model book published by her father. Lace was used on linens as well as to adorn both men’s and women’s clothing. Model books for calligraphy, lace patterns, and needlework were typically used exhaustively by their owners, and as a result few survive. The richly engraved domestic scene on the half-title page depicts women engaged in the obviously social activity of lace-making. -
Lyon dans son lustre
Artist and engraver Claudine Brunand was likely related to the artist and woodcutter Michel Brunand. She worked for a number of printers and publishers in her native Lyon as well as in Germany. We know her for this charming, inventive, and marvelously original frontispiece. In a map of Lyon configured in the shape of a rampant lion, Brunand manages to incorporate each street and the city hall, along with heraldic shields and banners flying in the breeze. -
Flora, ouero, Cultura di fiori
Jesuit botanist Giovanni Battista Ferrari’s book on cultivating and planning gardens is one of the loveliest books to be produced in seventeenth-century Rome. It is filled with inventive engravings of complex garden designs along with stunningly drawn plates of individual flowers and plants; the plant names are heralded in beribboned banners. Many well-known artists collaborated to illustrate the production, including the Florentine painter and printmaker Anna Maria Vaiani, who designed and engraved a number of the plates. Vaiani, commissioned to paint a fresco in one of the Vatican chapels, was a member of the circles of Galileo and the noted collector and patron of the arts Cassiano dal Pozzo. -
[Suite de quinze estampes représentant des oiseaux]
French engraver Marie Briot was the daughter of Isaac Briot, an engraver and draughtsman, and trained in his studio. In addition to this work, she also contributed numerous engravings to a book of emblems published in 1638 and 1639. This volume includes fifteen plates of birds in their natural environment. She signs her plates Marie Briot, Fecit identifying herself as the maker. -
Corona delle nobili et virtuose donne. Fatti da Lugretia Romana
This series of four lace-pattern books published by Italian engraver and painter Cesare Vecellio first appeared from 1591-1596. At the time, lace was used extravagantly on both male and female clothing, as well as on linens. This series was the most extensive collection of lace patterns published to that point, and it was frequently reprinted. The dedication page of the fourth volume (dated 1616) is signed by Isabetta Alberti, who writes, “I came upon them [the lace designs] by chance and by means of my prints may works invented with such exquisiteness and diligence not remain in the shadows.” -
Dialoghi di Don Antonio Agostini arciuescouo di Tarracona intorno alle medaglie, inscrittioni et altre antichità
This handsome folio of Agustín’s work on antiquities is considered the first book to contain illustrations by a woman artist, Geronima Parasole. The powerful Athena on the title page and the large woodcuts of triumphal arches bear various versions of her initials, “P. M.” and “G. A. P.” The knife next to her signature, boldly centered in the image, indicates that she cut as well as drew the blocks. The print shop where she worked was a family enterprise of the Parasole and Norsini families. Her sister-in-law, artist Elisabetta Catanea Parasole, made a number of extraordinarily beautiful, and extremely rare, lace model books.
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